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Compositional Strategies and Methodologies

A list of some early choregraphic starting points: Thursday 20 July

Mapping Texts - data from the VNS triggers will be used to randomly generate text sequences combining ACTG (representing the basic four chemicals within DNA: adenine (A), thymine (T), guanine (G), cytosine (C). It is possible to generate in both spaces in real time. Could be used as choreographic instructions? could be projected by itself or overlaid on top of other projected imagery.

Miniatures/ Small and Bright - use of small rear projections in 132 and large monitor (on I.S.). Possibly the miniature will be set up in one space with large projection in the other space - so focus of whole body dancing in one space and focus on developing "miniature" or "small" dances (fingers/ hands/ faces) to be performed in the other space.

Video Feedback - set up cameras on two miniature projections/ displays to create 'feedback loop' - movement material? Use miniature/ small movements.

Moving Camera - use TOUCH / Intimacy dance movement - cameras will be set up to be moved in each space· with cable moving - is this possible to practice/ coordinate using the perfomers?

Memory Forward/ Memory Reverse - using pre-recorded controlled video material through IMAGE/INE (real time video editing) - fine out what imagery is being used today (what is available is being used) and possibly develop related material.

Question #14: write about a few of the compositional strategies you are using either as a choreographer or as a media/ technical artist. Are there differences between analog and digital strategies?

Answer #1: I am coming at this from two different directions. Firstly: Psychological. Because of the time constraints, I have had to constantly remind myself that the end product will not be perfect. Once reminded, I need to "ride the wave" and CONSTANTLY assure the dancers that it all is good and the project is about process and not as much about product! It is okay to make mistakes while performing (a concept difficult to grasp as a performer). Then, somehow give the dancers a handle on ALL the movement material they need to know -- when and where as much as possible. Secondly: Choreographic. Instead of thinking of creating one work at a time I have to think of creating three works at the same time. I actually love the fact that this process allows me to do this. In working with one site I often have to edit out images or ideas I want in a dance (for one reason or another). This process allows me to incorporate at least three separate perspectives on one content idea. (Jennifer Tsukayama)